Lucy Scholes, The Paris Review, 2020. In 1956, in a central London café, Lindsay Anderson, Karel Reisz, Tony Richardson, and Lorenza Mazzetti wrote a manifesto for what they termed the “Free Cinema” movement. Among the aims of these four young, avant-garde filmmakers was a belief in “the importance of people and the significance of the everyday.” They eschewed traditional box office appeal in favor of authentic depictions of the quotidian, particularly that of the ordinary working man and woman.
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